1. I’m interested in the idea of my tastes being larger than just mine.
    — Fantastic interview with The New York Public Library’s Paul Holdengräber, who curates the Live from the NYPL series of live conversations with cultural icons. (via explore-blog)
  2. those who write of ordinary people: Anne Tyler time at The Guardian

    Anne Tyler’s work is reviewed in the Guardian prior to the release of her latest book, The Beginner’s Goodbye. A rare interview with Lisa Allardice also discusses the men in her novels and her writing process, and opens with a fine salute to The Wire, set as it is on home turf:

    If you were to pop by Anne Tyler's house in leafy Roland Park, Baltimore, on a Tuesday afternoon, you might interrupt her and five women friends deep into an episode of The Wire. They have seen all five seasons three times, and are discussing how soon they can begin a fourth viewing.

    Nearly all of her 19 novels are set in Baltimore, where she has lived since 1967, and she has become so synonymous with the city that they run Tyler tourist trips. But fans will know that her fictional Maryland is a world away from that of detective Jimmy McNulty and co. “It is very true to Baltimore,” she says of the series. “It is a very pocketed city. We walk the same streets, the drug dealers are doing their business and I’m doing mine, and we almost don’t see each other.”

    Now I have the perfect excuse to watch it all…though there is a note of caution in the middle of this excellent interview. I don’t think any writer should be interviewed until they’ve written at least fourteen substantial works. They are much more interesting when they’re further down the track.

    Of course, the question pops up about the dearth of face space, and there is a very good answer:

    "The simple answer is that any time I’ve spoken at length in an interview, I really can’t write afterwards for a long time. My mental image, which again is so fey, is that the Writing Elf has gone off in a sulk." The secret of writing "is to pretend to yourself that no one will see it, ever", an illusion which is shattered by talking about it. "We’ll see. When I get home again, how long will it take me to write? I’m curious to know. Will the Writing Elf understand?"

    I’m not going to read all her novels (and I might not watch the whole of The Wire either), but this is a very good reason to resume an acquaintance with Nick Hornby’s inspiration. After all, they both like ordinary people.

    Why male readers love Anne Tyler’s novels

    Anne Tyler: a life’s work

  3. 06:34 25th Mar 2012

    Notes: 1

    Tags: interviews

    I view genre as a range of colours a writer has in his/her paintbox, rather than genre being the paintbox itself,” says David. “While most books occupy only one genre there is no reason you can’t use genre in a more diverse way and as an ingredient rather than allowing it to dictate the terms of the world of the book. Genre exists. It’s there to be used, why not give it a go?
    — David Mitchell talks to the Galway Advertiser about his work, prior to an Irish writers’ festival.
  4. First noted at Give Me Something To Read. Then lost in Tumblr’s interminable scroll….

  5. She is prolific and consistent if not as widely read as she should be. Her writing follows troubled men and women, overcome by an everyday assault of ephemera, whether external, as in the sleepless New York City night that is the premise of her novel No Lease on Life, or personal, like the narrator’s fascination with her own skin in American Genius. Her stories contain less of a plot than a scattered mind jumping from one association to the next.

    Don’t Call Her Experimental: Lynne Tillman’s Realism Of Indeterminacy | The New York Observer

    Interview interrupted at the end by no less a person than Colm Toibin. Oh the excitement.

    Tillmann’s new book is published by Richard Nash’s new imprint, Red Lemonade. Her back catalogue will be reissued next month.

  7. 13:52 23rd Feb 2011

    Notes: 51

    Reblogged from the-feature

    Tags: Interviews

    On 17th October 1998 I was highly fortunate to conduct a telephone interview with the late, great Doctor of Journalism Hunter S. Thompson for an article for the long defunct movie magazine Neon. What follows below is a straight transcript (never before printed) of the whole phone conversation with Thompson at his heavily fortified home Owl Farm, Woody Creek, Colorado

    Reblogged from givemesomethingtoread.com

  8. what a find!!!

  9. Lorna Sage, my mum -The Guardian
Indeed, she was beautiful. A great interview with Sharon Tolaini-Sage.

    Lorna Sage, my mum -The Guardian

    Indeed, she was beautiful. A great interview with Sharon Tolaini-Sage.

  10. On Franzen’s desk sit a pair of earplugs that he wears when he writes, over which he places noise-cancelling headphones that pipe “pink noise” – white noise at lower frequency. His computer has had its card removed, so he cannot be tempted by computer games. The ethernet port has been physically sealed, so he can’t connect to the internet. While writing The Corrections, he even wore a blindfold as he touch-typed.

    Well, OKAY. So even Mulberry Road is not a Franzen-free zone….

    What does it mean, pink noise, anyway - does it have blood in it or something?

    Jonathan Franzen: ‘I must be near the end of my career – people are starting to approve’ | Books | The Guardian